Search results for ""Liverpool University Press""

National Jewish Book Awards Finalist for the Visual Arts Award, 2017. The carved wooden Torah arks found in eastern Europe from the seventeenth to nineteenth centuries were magnificent structures, unparalleled in their beauty and mystical significance. The work of Jewish artisans, they dominated the synagogues of numerous towns both large and small throughout the former Polish-Lithuanian Commonwealth, inspiring worshippers with their monumental scale and intricate motifs. Virtually none of these superb pieces survived the devastation of the two world wars. Bracha Yaniv’s pioneering work therefore breathes new life into a lost genre, making it accessible to scholars and students of Jewish art, Jewish heritage, and religious art more generally. Making use of hundreds of pre-war photographs housed in local archives, she develops a vivid portrait of the history and artistic development of these arks, the scope and depth of her meticulous research successfully compensating for the absence of physical remains. In this way she has succeeded in producing a richly illustrated and comprehensive overview of a classic Jewish religious art form. Professor Yaniv’s analysis of the historical context in which these arks emerged includes a broad survey of the traditions that characterized the local workshops of Lithuania, Belarus, and Ukraine. She also provides a detailed analysis of the motifs carved into the Torah arks and explains their mystical significance, among them representations of Temple imagery and messianic themes—and even daring visual metaphors for God. Fourteen arks are discussed in particular detail, with full supporting documentation; appendices relating to the inscriptions on the arks and to the artisans’ names will further facilitate future research. This seminal work throws new light on long-forgotten traditions of Jewish craftsmanship and religious understanding.

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Witchfinder General (1968), known as The Conqueror Worm in America, was directed by Michael Reeves and occupies a unique place in British cinema. Equally praised and vilified, the film fictionalizes the exploits of Matthew Hopkins, a prolific, real-life "witch hunter," during the English Civil War. For critic Mark Kermode, the release proved to be "the single most significant horror film produced in the United Kingdom in the 1960s," while playwright Alan Bennett called the work "the most persistently sadistic and rotten film I've ever seen." Steadily gaining a cult reputation, unimpeded by the director's death just months after the film's release, the film is now treated as a landmark, though problematic, accomplishment, as it exists in a number of recut, retitled, and rescored versions. This in-depth study positions the film within the history of horror and discusses its importance as a British and heritage film. It also considers the inheritance of Hopkins, the script's relationship to the novel by Ronald Bassett, and the iconic persona of the film's star, Vincent Price. Ian Cooper conducts close textual readings of specific scenes and explores the film's various contexts, from the creation of the X certificate and the tradition of Hammer gothic, to the influence on Ken Russell's The Devils (1971) and the "torture porn" of twenty-first-century horror.

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Located in the West London suburb from which it takes its name, Ealing Studios is one of the best loved and best known institutions of British cinema. Ealing represents a particular kind of institutional practice—a community of filmmakers who collaborate in a defined location and produce a particular kind of film. Popular and acclaimed examples include Dead of Night (1945), Whiskey Galore! (1949), Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951), and The Ladykillers (1955). Viewed within the context of a nation forced to adjust to World War II and its subsequent social upheavals, Ealing films reflect common characteristics that can be identified as "national," conjuring images of Britain and Britishness for domestic and international audiences. In many ways, the values of Ealing in the 1940s and early 1950s are the values of Britain. Encouraging a view of the institution from its own perspective (which John Ellis casts as "liberal rather than radical, progressive rather than revolutionary "), this volume traces how Ealing constructed an image of Britain at a particular moment in history.

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The tyrants of Greece are some of the most colourful figures in antiquity, notorious for their luxury, excess and violence, and provoking heated debates among political thinkers. Greek Tyranny examines the phenomenon of autocratic rule outside the law in archaic and classical Greece, offering a new interpretation of the nature of tyranny. The development of tyrannical government is examined in theory and in practice, embracing lesser-known rulers such as the tagoi of Thessaly and the Hecatomnids of Halicarnassus, as well as canonical figures like the Pisistratid rulers of Athens and the Dionysii at Syracuse. The book considers the different forms which sole rulership took – the violent usurper, the appointed magistrate, the general and the Hellenistic king – and the responses which tyranny evoked, both from the citizens of the polis and from intellectuals such as Plato and Aristotle. Lewis replaces the longstanding theory of an ‘age of tyranny’ in Greece with powerful new arguments, suggesting tyranny was a positive choice for many Greek states.

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John Conington’s three-volume edition of The Works of Virgil, begun in 1852, has long been unavailable except in rare second-hand sets. The whole work is now being reissued in six affordable paperbacks, with new introductions setting the commentary in its context. Well into the twentieth century Conington’s Virgil remained the sine qua non for school and undergraduate students and their teachers; Conington’s commentary is remarkably close and uncompromising in its engagement with the detail of Virgil’s Latin, as well as its literary sensitivity; it still has much to offer the modern reader. This volume includes Virgil’s text and Conington’s commentary on Books X–XII, along with Conington’s index to Books VII–XII. It also includes Philip Hardie’s general assessment of Conington and Anne Rogerson’s introduction to Conington’s Aeneid.

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Augustine's 'Confessions', written at the close of the fourth century CE, is a highly significant text in the history of European culture. Augustine explains just how and why he came to abandon a successful career and the personal enjoyments of a largely secular existence to follow a life of prayer and study, leading to a true comprehension of God and the Bible. The avowed approach of this introductory book is to 'historicise' - to set Augustine's own experiences of religion, philosophy and Christian faith against the long-standing political, cultural and religious traditions of the classical world. Late antiquity saw the transformation of the classical heritage and its transmission by Christian authors. Augustine's ideas about how texts may be presented and read, how people respond to written and spoken language, find resonance in recent critical theory.The world in which Augustine lived, the structure, style and purpose of the Confessions, and the problems of rhetoric and truth posed by its author's personal search for himself are all scrutinised in this lucid introductory account. The volume also offers a useful guide to further reading.

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For a Jew, describing a place as 'home' conveys connotations of heritage as well as of residence. Additionally, feeling 'at home' suggests a sense of comfort in one's social surroundings. The questions at the heart of this volume are: what things make a home 'Jewish', materially and emotionally, and what is it that makes Jews feel 'at home' in their environment? The material dimensions are explored through a study of the symbolic and ritual objects that convey Jewishness and a consideration of other items that may be used to express Jewish identity in the home-something that the introduction identifies as 'living-room Judaism'. The discussion is geographically and ethnically wide-ranging, and the transformation of meaning attached to different objects in different environments is contextualized, as, for example, in Shalom Sabar's study of {h.}amsa amulets in Morocco and Israel. For diasporic Jewish culture, the question of feeling at home is an emotional issue that frequently emerges in literature, folklore, and the visual and performing arts. The phrase 'at-homeness in exile' aptly expresses the tension between the different heritages with which Jews identify, including that between the biblical promised land and the cultural locations from which Jewish migration emanated. The essays in this volume take a closer look at the way in which ideas about feeling at home as a Jew are expressed in literature originating in Brazil, Argentina, and the United States, and also at the political ramifications of these emotions. The question is further explored in a series of exchanges on the future of Jews feeling 'at home' in Australia, Germany, Israel, and the United States. Jews at Home is the first book to examine the theme of the Jewish home materially and emotionally from a variety of disciplinary perspectives, including literature, history, anthropology, sociology, psychology, art history, and folk and popular culture. The essays in the collection use the theme of home and the concept of domestication to revise understanding of the lived (and built) past, and to open new analytical possibilities for the future. Its discussion of domestic culture and its relevance to Jewish identity is one with which readers should feel right at home.

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The enigmatic kabbalist Samuel Falk, known as the Ba'al Shem of London, has piqued the curiosity of scholars for enerations. Eighteenth-century London was fascinated by Jews, and as a miracle-worker and adventurer, well connected and well read, Falk had much to offer. Interest in the man was further aroused by rumours of his dealings with European aristocrats and other famous characters, as well as with scholars, Freemasons, and Shabbateans, but evidence was scanty. Michal Oron has now brought together all the known source material on the man, and her detailed annotations of his diary and that of his assistant give us rich insights into his activities over several years. We learn of his meetings and his travels; his finances; his disputes, his dreams, and his remedies; and lists of his books. We see London's social life and commerce, its landed gentry and its prisons, and what people ate, wore, and possessed. The burgeoning Jewish community of London and its religious practices, as well as its communal divisiveness, is depicted especially colourfully. The scholarly introductions by Oron and by Todd Endelman and the informative appendices help contextualize the diaries and offer an intriguing glimpse of Jewish involvement in little-known aspects of London life at the threshold of the modern era.

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This volume is devoted to the part Jews played in the history of Lódz between 1820 and 1939. Specifically, it focuses on the place of the Jews in the industrial elite of this multi-ethnic textile town, and on its role as a centre of the modern movement and of Jewish artistic and literary creativity. It is the result of a collaborative venture with the Historical Institute of the University of Lódz. CONTRIBUTORS Kazimierz Badziak, Natan Gross, Julian K. Janczak, Maria Kaminska, Tamara Karren, Stanislaw Liszewski, Jerzy Malinowski, Leszek Olejnik, Wieslaw Pus, Stefan Pytlas, Yosef Salmon, Pawel Samus, Robert Moses Shapiro, Chone Shmeruk, Jerzy Tomaszewski, Yehiel Yeshaia Trunk, Barbara Wachowksa, Jacek Walicki, Janusz Wrobel

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The book explores all the important themes of the Copts from the earliest moment sof Christian history to the present day.

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The story of The Usual Suspects has the kind of "rags to riches" back story that makes not only the film itself, but the tale of its creation a tale worth telling. Inspired by a magazine headline, it was a poster before it was a screenplay, yet it stands in opposition to the High Concept Hollywood movie. Studying The Usual Suspects is an analysis of a film that is both a ripping yarn and an exercise in virtuoso technique. Author Judith Gunn offers: a thorough introduction to semiotics as a way of approaching the multiple meanings of the film; a consideration of the film's noir antecedents and influences; a discussion of the film's playful approach to narrative; an overview of John Ottman's unique role as both composer and editor and how this affects the finished article, including a shot-by-shot analysis of the dramatic and mysterious opening sequence; and a definitive account of the film's genesis from idea to film festival acclaim.

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Gladiator was one of the great commercial successes of the early twenty-first century, a fascinating example of how an old genre can be resuscitated for a new generation. The film's story is not complex yet the ways in which it is told says much about mainstream narrative techniques. And beneath its action-packed scenes and richly detailed sets, Gladiator carries specific values and messages which deserve close scrutiny. In Studying Gladiator, Sandy Irvine considers:Film language – how Gladiator overcomes incredulity with compelling use of sound, costume and mise-en-scène; The industrial context – Gladiator as a product of a partnership between an infant studio (DreamWorks) and a transnational corporation (Universal); Genre and Narrative – what do we mean by an 'epic', and can we describe Gladiator as such? Audience – how did the makers of Gladiator 'win the crowd' and appeal to today's block-buster audience? Film-makers – what did Ridley Scott personally bring to Gladiator, and can he be considered an auteur? Representation and Ideology – can we relate historical representations to contemporary society?

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A lucid and balanced appraisal of some of the best Czech fiction of the twentieth century.

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What does feminism mean at the millennium? Can we say that such a thing as a women's movement exists anymore, and, if so, in what form? Why are so few women willing to identify as feminist; are we really post-feminism, or do we still need a woman-centered political discourse? And what might a feminist theory and practice capable of addressing the aspirations of all women look like? These are the fundamental questions about women's needs, experiences, and ideas explored in this volume. This powerful and empowering volume challenges conventional notions about differences of race, class and sexuality among women, bringing critical insights from the fields of anthropology, cultural and ethnic studies, history, sociology, and literary studies. Examined in this collection are many aspects of exclusion in feminist thought, including women's use of masculinist theory, the processes of tokenism and erasure prevalent in educational institutions, and the status of women in erotic discourse.

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Theophilus of Edessa was an astrologer in the court of the Muslim caliphs from the 750s to the 780s, a time when their capital, Baghdad, was a thriving cosmopolitan centre of culture and trade and one of the most populous and prosperous cities of the world. He was fluent in Greek, Syriac and Arabic, and he used this ability to bring together a number of historical sources in each of these languages and blend them into a single chronicle that charted events in the Near East from 590 to the 750s. His work is no longer extant, but it was cited extensively by a number of later historians and Robert Hoyland has collected and translated all these citations so as to give an impression of the scope and content of the original text. This is important, because this chronicle underlies much of our historical knowledge about the seventh and eighth century Near East, which was a crucial period in the region, witnessing as it did the devastating war between the two superpowers of Byzantium and Iran, the Arab conquests and the rise to power of the first Muslim Arab dynasty, the Umayyads (660-750), and their subsequent overthrow by a new dynasty, the Abbasids, who moved the capital of the Muslim Empire from Damascus to Baghdad. Hoyland also indicates the links between Theophilus’ chronicle and other historical works, by Muslims as well as Christians, in order to illustrate the considerable degree of sharing of historical ideas and information that occurred among the various communities of the Near East. The material translated consists of the sections of four chroniclers that deal with the period 590-750s: one in Greek (Theophanes the Confessor, d. 818), one in Arabic (Agapius of Manbij, fl. 940s) and two in Syriac (Michael the Syrian, d. 1199, and an anonymous author, fl. 1230s, who were both relying on the chronicle of Dionysius of Telmahre, d. 845). The latter three either had not been translated into English before (thus Agapius and Michael the Syrian) or had only partially been translated (the anonymous chronicler of the 1230s).

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This collection is an essential guide to, and critique of, visual arts regeneration strategies mobilized by local and national governments attempting to brand their cities in contemporary regional and global markets for lucrative industries, tourism and heritage recognition. Looking at cities such as Liverpool, Manchester, Chiang Mai in Northern Thailand, Da Zha Lan in China, Bogata in Colombia and Rio de Janiero in Brazil and case studies in the former USSR, it offers critical analyses of the history of regeneration policies and practices with a unique focus on the use of architecture, art and visual culture as vehicles for the re-design and re-presentation of cities. Themes treated include sustainability and energy production for cities, sexuality and architecture, surveillance and power on the streets, utopian imaginings of alternative societies and consultation for social change in building.

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The Council of Constantinople of 553 (often called Constantinople II or the Fifth Ecumenical Council) has been described as ‘by far the most problematic of all the councils’, because it condemned two of the greatest biblical scholars and commentators of the patristic era – Origen and Theodore of Mopsuestia – and because the pope of the day, Vigilius, first condemned the council and then confirmed its decisions only under duress. The present edition makes accessible to the modern reader the acts of the council, session by session, and the most important related documents, particularly those that reveal the shifting stance of Pope Vigilius, veering between heroic resistance and abject compliance. The accompanying commentary and substantial introduction provide a background narrative of developments since Chalcedon, a full analysis of the policy of the emperor Justinian (who summoned and dominated the council) and of the issues in the debate, and information on the complex history of both the text and the council’s reception. The editor argues that the work of the council deserves a more sympathetic evaluation that it has generally received in western Christendom, since it arguably clarified rather than distorted the message of Chalcedon and influenced the whole subsequent tradition of eastern Orthodoxy. In interpreting Chalcedon the conciliar acts provide a fascinating example of how a society – in this case the imperial Church of Byzantium – determines its identity by how it understands its past.

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The Mammals of Cheshire provides the first survey of mammals in the Cheshire region for nearly one hundred years. While the majority of chapters cover the region’s main species looking at their distribution, biology and identification, along with up-to-date distribution maps, further chapters cover Cheshire habitats, the history of mammals and their recording and conservation issues. Required reading for all those interested in the county’s natural environment, this richly illustrated volume includes colour photographs and specially commissioned line drawings.

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The paradigmatic figure of twentieth-century history is the ‘displaced person’, a concept which emerged from the demographic migrations, deportations and genocidal purges that accompanied two world wars, the destruction and construction of nation states and the restructuring of the global order which they occasioned. These processes almost inevitably fostered a poetry of exile and expatriation intimately bound up with the experience of modernity and the culture of modernism, culminating, in the postcolonial era, with the globalisation of displacement as the determining condition of postmodernity. In this timely new volume renowned poetry critic Stan Smith examines a number of poets – Plath, Larkin, Heaney, Walcott, Middleton, Fisher, Duffy – through the lens of displacement.

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The Insurrection mounted by the Sendero Luminoso or ‘Shining Path’ guerrilla movement, sparked one of the most vicious civil wars in recent Latin American history, in which an estimated 69,000 people lost their lives. A high proportion of the victims comprised rural people from Peru’s Andean mountains. Shining Path: Guerrilla War in Peru’s Northern Highlands examines the origins and trajectory of the conflict in the Cajabamba-Huamachuco region, located in the country’s northern sierra, a hitherto ignored theatre of conflict in Peru’s recent civil war. Central to the book is the changing relations between guerrilla fighters and the rural population. How, and to what extent, did the Shining Path succeed in building popular support? What tensions arose between the rebels and the civilians? The book also surveys the literature on Shining Path dealing with the Ayacucho and other departments, comparing and contrasting developments elsewhere in the north. Taylor traces the area’s recent agrarian history, assessing the impact of land reform and the emergence of radical peasant organizations in the decade preceding the initiation of armed activity. Using interview data and reports drafted by the security forces, Taylor reveals the the state responses to this violent and bloody insurrection. Expertly written and extremely accessible, Shining Path: Guerrilla War in Peru’s Northern Highlands provides a comprehensive analysis of a tragically ignored chapter in Peru’s civil war.

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The Red Sea is one of the worlds most important trade routes, a theater of power struggle among local, regional and global powers. Military and political developments continue to impact on the geostrategic landscape of the region in the context of its trade thoroughfare for Europe, China, Japan and India; freedom of navigation is a strategic interest for Egypt, and essential for Israels economic ties with Asia. Superpower confrontation is inevitable. China, the US, France, Japan and Saudi Arabia have military bases in Djibouti. US strategy seeks to curb Chinese economic influence and Russian political interference in the region through diplomacy and investment. And at the centre of US alliances is the war on terror still prevalent in the Middle East and East Africa: Islamic terror groups Al Shabaab in Somalia and Kenya; Al Qaeda of the Arab Peninsula in Yemen; and the Islamic State in Egypt. The civil war in Yemen has become the arena for Iran and Saudi Arabias struggle for regional hegemony. Saudi Arabias Sunni Arab coalition have been fighting Iranian-backed Shiite Houthi rebels to a stalemate (December 2018). In 2016 Egypt ceded Saudi Arabia the Tiran and Sanafir Islands, the narrow sea passages between the Sinai and Arabian peninsulas, giving control of the entire length of the Red Sea. This, and other perceived positive geostrategic developments, have to be offset by the nuclearization of the Red Sea basin (directed in part by Russian foreign policy) and the dangers of multiple country military deployments in the hubs of radical Islam and terrorism potential. A stable future for the region cannot be taken for granted. And as alliances shift and change, so will Israels foreign policy and strategic partnerships have to adjust.

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Fernando Pessoa is one of the greatest poets of the 20th century. Until some years ago known in the English-speaking world only among a minority of connaisseurs, his work is finally becoming available in English translations, and more are in the process of reaching the literary public. Born in Lisbon in 1888, Pessoa was only forty-seven when he died, but he left behind a staggering number of unpublished manuscripts that are still being screened and brought to light. George Steiner heralded the day Pessoa discovered his major Portuguese heteronyms, for no country had ever seen the birth of four great poets in a single day. That was a reference to the personae Pessoa created, the famous heteronyms Alberto Caeiro, Alvaro de Campos, and Ricardo Reis, besides the man himself -- all poets in their own right with their biographies and even critical exchanges among themselves. Today well over a hundred Pessoa heteronyms are known, including, notably, the semi-heteronym Bernardo Soares, author of The Book of Disquiet, presently available in two English translations. Lately, another Pessoa is emerging -- an English writer, as well as a thinker. Indeed, having been educated in Durban, South Africa, where his stepfather was the consul of Portugal, the poet had a strong English education that shaped his life and thought. George Monteiro has been in the forefront of the uncovering of this side of Pessoa. Author, among many other works, of The Presence of Pessoa: English, American, and Southern African Literary Responses, and Fernando Pessoa and Nineteenth-Century Anglo-American Literature, in this volume Monteiro continues to explore and interpret the world of Pessoa to English-speaking readers.

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Barcelonas transformation into the worlds leading smart city is explained by one of its chief protagonists. SMART CITY Barcelona provides an essential guide for innovation and leadership for all those who participate in the design of cities in the 21st century. The Barcelona municipality is a driving force in the creation of city employment, well-being and opportunity. What can the world learn from the Barcelona model? What should municipal governments priorities be when committing to this development model? What are smart cities and what are they not? Why do they generate so much controversy? Based on the authors experience as deputy mayor of urbanism, housing, infrastructures, environment, energy, ICT, and innovation in Barcelona City Council, as well as a consultant and lecturer to cities across the world (Singapore, Ho Chi Minh City, Mumbai, Delhi, Pune, Doha, Dubai, Oslo, Prague, Moscow and Bogota, to name a few), SMART CITY Barcelona presents twelve theoretical and practical lessons for all citizens, civil servants, politicians, architects, city planners and businessmen who wish to contribute to the design of 21st century cities. The urban development vision to integrate information and communication technology (ICT) and internet of things (IoT) technology in way that makes best use of the resources and human assets peculiar to a city has attracted popular attention and social media comment as people view this new vision as the promotion of the artistic, spiritual and political life of the city they live in.

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Marking the 80th anniversary of the outbreak of the Spanish Civil War, this volume takes a close look at the initial political moves, military actions and consequences of the fratricidal conflict and their impact on both Spaniards and contemporary European powers. The contributors re-examine the crystallization of the political alliances formed in the Republican and the Nationalist zones; the support mobilized by the two warring camps; and the different attitudes and policies adopted by neighbouring and far away countries. Spain 1936: Year Zero goes beyond and against commonly held assumptions as to the supposed unity of the Nationalist camp vis-a-vis the fragmentation of the Republican one; and likewise brings to the fore the complexities of initial support of the military rebellion by Nazi Germany and Soviet support of the beleaguered Republic. Situating the Iberian conflict in the larger international context, senior and junior scholars from various countries challenge the multitude of hitherto accepted ideas about the beginnings of the Spanish Civil War. A primary aim of the editors is to enable discussion on the Spanish Civil War from lesser known or realized perspectives by investigating the civil wars impact on countries such as Argentina, Japan, and Jewish Palestine; and from lesser heard voices at the time of women, intellectuals, and athletes. Original contributions are devoted to the Popular Olympiad organized in Barcelona in July 1936, Japanese perceptions of the Spanish conflict in light of the 1931 invasion to Manchuria, and international volunteers in the International Brigades.

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For decades, the Prague School Structuralism assumption of textual autonomy dominated the explorations of Czech literature as well as the context of Czech literary theory. The three authors of this book combined their efforts to move beyond and offer a new conceptual frame. Sharing the structuralist proposition of texts made from words, they focus on the metamorphoses of the modes of representations through the 20th century fiction and its critical reflections. Switching between theoretical considerations and case study interpretations, their essays challenge the notion of autonomous fictional worlds and involve the pragmatic categories of the constructed image of a writer and the aesthetic experience of a reader. The focus on representational status of literary texts combines here with another conceptual frame the performative aspect. The literary texts do not function as mere documents that preserve the traces of existing reality but as objects that construct what their readers conceive as parts of existing reality. Instead of a a depository of meanings, literature is thus perceived as a permanent process of negotiations that uses the institutional power of canonisation, ritualisation or tabooisation. Drawing on contemporary international theory of literature and aesthetics (Searle, Rorty, Davidson, Iser, Greenblatt, White), the authors try to conflate semiotic analyses of textual meanings with the pragmatic notions of historical and readership contexts. The book does not offer a coherent narrative of modern Czech literature development. It chooses the productive texts of Czech literature, occasionally combined with other items of Czech culture (arts, films, TV production) and brings them into comparison with the international context. Such an approach puts aside the traditional assumption of a national context as a major defining criterion, which allows the authors to articulate more generalized abstractions.

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This collection of nature poems of China includes nearly 250 poems by thirty-three poets over two millennia. Part One provides selections from the two oldest anthologies: the Shi Jing (Classic of Songs) and the Chu Ci (Songs of the South). Included in this part are folk songs of ancient China as well as two long poems by Qu Yuan (340?-278? BCE), the first known poet of China. Part Two begins with Tao Yuanming of the Eastern Jin (317-420), and includes not only the well-known poets of the Tang (618-906) and Song (960-1279) periods, such as Wang Wei, Li Bai, Du Fu, Bai Juyi, Su Shi and Lu You, but also over twenty lesser known poets. Traditionally, there are two genres of nature poems in China: tianyuan shi (field/garden poems) and shan shui shi (mountain/water poems). These poems are often read in light of the Daoist philosophy. However, no philosophical understanding of nature is necessary to appreciate what our nature poets sing. Anyone who has seen Chinese landscape paintings should be able to enjoy it. But most of the poems in this collection are not ordinary lyrical songs but more often than not songs of longing, in which the reader may hear also the life spirits protest against the oppression of human civilisation. In his long poem 'Oh, Let Me Return,' Tao Yuanming is singing his longing for return to nature, away from the net of dust.

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The stark reality of all life, from the biology of the food chain incorporating all living beings to the social stratification and hierarchies of human cultures, revolves around violence -- physical or psychological. That unavoidable, black-and-white, worldview of survival of the fittest with little if any grey to mitigate it is coloured only by the red lifeblood of the victims of the bigger, the stronger, the smarter, the wilier, who literally and/or figuratively 'eat' their victims -- overcoming, overwhelming, controlling, oppressing them. The premise behind the book focuses on the representation of the visual and literary artistic products of a group of seemingly alike yet divergent societies, with linguistic and cultural ties that reflect those societies' means of control. These representations socialise viewers and/or readers in personal or public situations, establishing ubiquitous hierarchies. French social anthropologist/literary critic/theorist René Girard maintains in Violence and the Sacred that 'the oldest means of social control is . . . violence.' While the incorporated violence itself is not the overweening theme of this work, the representation or threat of violence functions in reality in terms that imply its consequences to the viewer or reader. These consequences are discussed in terms of control-directed violence based on gender roles and politics, socio-cultural power, and environmental issues or eco-violence. The underlying message is that of the necessity to behave according to imposed norms, stated or implied, or suffer those consequences -- convincing leitmotif in works by Spanish, Hispanic American and Latino visual artists and writers in the Spanish language over the ages.

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Global social inequality has declined over the past 100 years and the gap between different parts of the world, measured by average lifespan, has narrowed. The internal gap between wealthy and poor in the western world has likewise reduced, from the 1930s to the 1970s, although not in a linear way. The 1980s represented a turning point in developed countries, as the top 0.1% of income earners accumulated extraordinary riches. This new trend did not subside with the financial crisis of 2008, but expanded to less developed areas of the world; indeed, long-term significant reduction of poverty is now considered vulnerable. Inequality of income and its associated impacts has triggered a passionate debate between those who maintain that an unequal accumulation of richness is crucial for economic and social progress and those who believe that it does not encourage investment and that it prevents increased demand, thus negatively affecting the economy. This contributed volume sets out to study social inequality in Portuguese-speaking countries, thus providing diversification of experience across different continents. The purpose is to identify major economic, historical and cultural developments in terms of education, health, life-cycle, gender, ethnic, and religious relations. The current realities of migration are also addressed, since they raise the issue of ethnic integration. This is the first published work to address inequality in a cross-continent yet same language perspective, and presents a striking advance in the global study of inequality.

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Why is David Foster Wallace so widely read? Why does his fiction and non-fiction continue to raise enthusiasm among an ever-growing variety of readers of all ages and backgrounds not only in the English-speaking countries but all over the world, while describing all the malcontents, dead ends and solipsistic tendencies of contemporary civilisation? Presences of the Other counteracts the vision of Wallace's postmodern oeuvre as selfishly self-absorbed, narcissistic or confining and attempts to answer the question of its appeal by addressing it as an open work, following Umberto Eco's definition of great texts. Epitomised in the missing questions of Brief Interviews; in the endnotes of Infinite Jest that entice readers into fertile wanderings; or in The Pale King demands for active editing and creative involvement, DFW's paradoxically difficult and impenetrable work opens up and allows for limitless interventions and participations. By becoming a playground for interpretation, his work reveals itself as an exercise in care. Indeterminate and inconclusive, constructed on Derridean difference, DFWs output testifies to the presence of a liberating symbolic Other; by resisting closure, it promotes both a fundamental reworking of the literary tradition and a compassionate vision of the human condition. Prominent scholars explore varieties of otherness in Wallace's open work by engaging with the dialogue his writing establishes with non-literary discourses such as cinema (French Nouvelle Vague), music (rap, in Signifying Rappers), religion (Buddhism) and philosophy (Wittgenstein and Ranciere). Critical approaches to the authors protean identity, taste for masquerade and performance, and capacity for metamorphosis and transformation, foreground traces of an otherness that sets out a salutary spiritual potential for the 21st century.

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The work of Alex Colville, O.C. (1920-2013), one of the great modern realist painters, combines the Flemish detail of Andrew Wyeth, the eerie foreboding of George Tooker and the anguished confrontations of Lucian Freud. Behind the North Americans stands their common master, Edward Hopper. Colville's works are in many museums in Canada and Germany. He has affinities with Max Beckmann and appeals to the German "secondary virtues": cleanliness, punctuality, love of order. In a long life he resolutely opposed the fashionable currents of abstract and expressionistic art. In contrast to Jackson Pollock's wild action painting, Colville created paintings of contemplation and reflection. As Jeffrey Meyers writes: I spent several days with Colville on each of three visits from California to Wolfville. I received seventy letters from him between August 1998 and April 2010, and kept thirty-six of my letters to him. He sent me photographs and slides of his work and, in his eighties, discussed the progress and meaning of the paintings he completed during the last decade of his life. His handwritten letters, precisely explaining his thoughts and feelings, provide a rare and enlightening opportunity to compare my insights and interpretations with his own intentions and ideas. He also discussed his family, health, sexuality, politics, reading, travels, literary interests, our mutual friend Iris Murdoch, response to my writing, his work, exhibitions, sales of his pictures and of course the meaning of his art. His letters reveal the challenges he faced during aging and illness, and his determination to keep painting as health difficulties mounted. He stopped writing to me when he became seriously ill two years before his death. In this context the late paintings, presented in colour in this book, take on a new poignancy.

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This book, translated from the original Spanish, is the primary academic and historical study of the Blue Division, a Falangist initiative involving the dispatch of some forty-thousand Spanish combatants (more than a half of whom paid with their lives, health, or liberty) to the Russian Front during the Second World War. Xavier Moreno Julia does not limit himself to relating their deeds under arms, but also analyses for the first time the political background in detail: the complex relations between the Spanish government and Hitler's Germany; the internal conflicts between the Falangists and the Army; the rise and fall of Franco's brother-in-law, Minister Ramón Serrano Suñer, who inspired the Blue Division and became the second most powerful person in Spain; and the attitude of General Agustín Muñoz Grandes, commander of the Blue Division, who was encouraged by Berlin to seriously consider the possibility of taking over the reins of Spanish power. In the end, there were 45,500 reasons that led to joining the Blue Division one for each young man who decided to enlist. To understand all of the complex reasons behind their military service under German command is impossible at this juncture. It is an irrecoverable past that lies in Spanish cemeteries and on the Russian steppes. This book, based on massive documentation in German, British and Spanish archives, is an essential source of information to understand Spain in the 1940s an epoch when the Caudillo's power and the regime's good fortune were less secure than is often believed. Published in association with the Canada Blanch Centre for Contemporary Spanish Studies, LSE.

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The biographer Winifred Gerin (1901-81), who wrote the lives of all four Bronte siblings, stumbled on her literary vocation on a visit to Haworth, after a difficult decade following the death of her first husband. On the same visit she met her second husband, a Bronte enthusiast twenty years her junior. Together they turned their backs on London to live within sight of the Parsonage, Gerin believing that full understanding of the Brontes required total immersion in their environment. Gerin's childhood and youth, like the Brontes', was characterised by a cultured home and intense imaginative life shared with her sister and two brothers, and by family tragedies (the loss of two siblings in early life). Strong cultural influences formed the children's imagination: polyglot parents, French history, the Crystal Palace, Old Vic productions. Winifred's years at Newnham College, Cambridge were enlivened by eccentric characters such as the legendary lecturer Quiller-Couch (Q'), Lytton Strachey's sister Pernel and Bloomsbury's favourite philosopher, G.E. Moore. Her happy life in Paris with her Belgian cellist husband, Eugene Gerin, was brought to an abrupt end by the Second World War, in which the couple had many adventures: fleeing occupied Belgium, saving Jews in Nice in Vichy France, escaping through Spain and Portugal to England, where they did secret war work for Political Intelligence near Bletchley. After Eugene's death in 1945 Winifred coped with bereavement through poetry and playwriting until discovering her true literary metier on the trip to Haworth. She also wrote about Elizabeth Gaskell, Anne Thackeray Ritchie and Fanny Burney. The book is based on her letters and on her unpublished memoir.

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Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco -- seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyses how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists -- due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public.

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This book presents an academic introduction to the life and teachings of five Middle Eastern founders of religion -- five individuals whose systems of faith, thought, and action have won the allegiance of millions. All believed to have experienced a personal encounter with the divine -- a "voice" directly from the "beyond" -- to proclaim God's message to the community or people to which they belonged. All attracted followers and opponents. Similarities in their religious outlook abound; but differences between the five pervade their approach toward society and culture, with issues of law, war, women, morality, ethics, the kingdom of God, life after death, and eternal judgment distinguishing their respective beliefs. An Introduction provides an overview of the political history of the Middle East based on four periods (Early, Persian, Hellenistic, and Roman) and a brief description of the surviving religious traditions of the Middle East (including a proposal regarding the nature of so-called "selected" individuals). Five chapter texts separately address each religious founder from the viewpoint of readers from the Judaic and Christian traditions in terms of the religious world into which each individual appeared; the traditional account as presented by available sources or evidences; the reliability of the available sources or evidences for reconstructing their biographies; and a critical assessment of both the sources or evidences and the traditional account. A concluding chapter compares the similarities and differences of the received divine messages, and notes that no new message has ever succeeded in shaking off entirely the influence of the faith from which it arose. The work has been specifically designed for student adoption in Religious Studies.

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The world-renowned Peruvian poet César Vallejo (1892-1938) was also a journalist, essayist, novelist and would-be dramatist. The study of his life and work has encountered problems since the 1950s, stemming from the fact that half of his writing was published posthumously under editorship of doubtful accuracy. The matter is further complicated in that his non-poetic work has been neglected in favour of his verse. A Struggle between Art and Politics reviews the evidence -- literary and historical -- now reliably to hand, and assesses the often conflicting body of opinion his work has generated. Three essential questions are pertinent: Where should Vallejo be placed in the canon of twentieth-century modernism? What effect did his mid-life conversion to Communism have on his writing? How should his prose fiction, journalism and essays be assessed in relation to his poetry? There are few writers whose literary output follows the twists and turns of their lives more closely than César Vallejo's. This new, comparative study maps his career onto the cultural, social, political and historical backdrop to his life in Peru, France, Spain and Russia, and analyses his writings in the light of his life circumstances. Vallejo's journey from Peru, the cultural "periphery", to the "centre" of inter-war Paris, his experience of European capitalism during the Depression, and the confrontation of Communism and Fascism, ultimately played out in the Spanish Civil War, forced him to wage a personal struggle to reconcile art with life and politics. This challenge is fought out in different ways in his various writings, but nowhere more movingly, passionately and humanely than in his posthumous poetry.

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The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than -- as the commonsense notion would have it -- a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new -- at once incalculable and necessary -- finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilises the force of bodies that it itself invents, and to which it gives a unique form of presence.

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Many of the ideas that appear in Arnold's Preface of 1853 to his collection of poems and in his later essays are suggested in the letters that Arnold wrote to his friend Arthur Hugh Clough. Analysis of the Preface reveals a poet who found a theoretical basis for poetry (by which he means literature in general) in the dramas of the Greek tragedians, particularly Sophocles: action is stressed as an indispensable ingredient, wholes are preferred to parts, the didactic function of literature is promoted -- in short, the Preface reads like the recipe for a classical tragedy. It is a young poet's attempt to establish criteria for what poetry ought to be. He found the Romantic idiom outworn. Literature was, in Arnold's perception, meant to communicate a message rather than impress by its structure or by formal sophistication. Modern theories of coalescence between content and form were outside the contemporary paradigm. T S Eliot's ambivalent attitude to Arnold -- now reluctantly admiring, now decidedly patronizing -- is puzzling. Eliot never seemed able to liberate himself from the influence of Arnold. What in Arnold's critical oeuvre attracted and at the same time repelled Eliot? That question has led to an in-depth analysis of Arnold as a literary critic. This book begins with an examination of Arnold's letters to Clough, where "it all started" and proceeds with a close reading of the 1853 Preface. A look at some of the later literary essays rounds off the picture of Arnold as a literary critic. This work is the result of Reader and Review comments of the author's well received Eliot's Objective Criticism: Tradition or Individual Talent? "Yet he is in some respects the most satisfactory man of letters of his age." -- T S Eliot, The Use of Poetry and the Use of Criticism.

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This is the first book to deal with the self-reflexive nature of narration of Beckett and Bernhard. Samuel Beckett's and Thomas Bernhard's works are representative of a persisting perplexity with regard to language. The texts of both authors are marked by their narrator's obsessive need to write, which is inextricably intertwined with their profound suspicion of language. The perpetuation of the narration is explained as an imperative, a simultaneously conscious and unconscious command which forces the artist to submit to the creative process. The author places this inexplicable force of the imperative within the context of Arthur Schopenhauer's aesthetic theory and Jacques Lacan's concept of desire. The attempt to define and interpret the two authors' prose and drama is displaced by this sense of the infinity of desire (Lacan) and by the eternal becoming of the will (Schopenhauer), which reveal themselves to lie at the heart of Beckett's and Bernhard's creativity.

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Based on first-hand diplomatic, political and journalistic sources, most unpublished, Mexico and the Spanish Civil War investigates the backing of the Second Republic by Mexico during the Spanish Civil War. Significant military, material and financial aid was given by the government of Lázaro Cárdenas (1934-1940) to the Republic, which involved not only direct sales of arms, but also smuggling operations covertly undertaken by Mexican diplomatic agents in order to circumvent the embargo imposed by the London Committee of Non Intervention. This path-breaking account reveals the operations in Spain of Mexican workers, soldiers, artists and intellectuals -- such as later Nobel Laureate Octavio Paz and the Muralist David Alfaro Siqueiros -- as volunteers and propagandists for the Republican cause. Engagement with the Spanish Civil War also had a profound impact upon Mexico's domestic politics as support for the Republic was equated by Cárdenas with his own revolutionary project. The defeat of the Republic in 1939 therefore had far-reaching repercussions for the post-1940 governments. Originally published to critical acclaim in Spanish, the work has been quoted and reviewed by many leading specialists on the Civil War, including Anthony Beevor, Ángel Viñas, Santos Juliá, and Pedro Pérez Herrero. This book is essential reading for students and scholars specialising in contemporary European history and politics, Latin American studies, and all those with an interest in the Spanish Civil War and the Mexican Revolution.

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Spain's Martyred Cities studies international reactions to the Spanish Civil War between the Battle of Madrid in November 1936 and the bombing of Guernica in April 1937. Many of the iconic events of the war belong to this key period, when international perceptions of the conflict were decisively shaped. The subject is approached through French and British newspapers and pamphlets, and events are linked to both their immediate press coverage and subsequent literary and artistic representations. For contemporaries, the aerial bombardments of Madrid, Guernica and other cities formed part of a single unbroken narrative. It was only later that Guernica acquired its perceived symbolic primacy. The 'language of martyrdom' was sometimes evoked in pro-Republican writing as a means of challenging Francoist claims to the religious and moral high ground. But the ur-text was The Martyrdom of Madrid (1937), a compilation of the posthumous, censored reports of the French correspondent Louis Delaprée on the bombing of Madrid. Delaprée's earliest reporting (July-October 1936) was from both the Nationalist and Republican zones, and is used to provide an introductory overview of the early stages of the war; he was an eyewitness of the aerial bombardments of Madrid in November 1936; subsequently, the posthumous publication of his writings created a major stir in Paris. Delaprée's powerful and emotive writing provides a platform from which to discuss issues of press censorship and journalistic practice. It is notable for its initial impact, when publication in no less than five languages enabled it to reach writers as different as Virginia Woolf and André Malraux. This book shows that Delaprée's reports were also an important catalyst in Picasso's artistic involvement in the war, culminating in his Guernica. Published in association with the Canada Blanch Centre for Contemporary Spanish Studies

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Emily Bronte is known as a novelist, but she was first and equally a poet. Before during and after writing Wuthering Heights, she wrote poetry. Indeed, she wrote virtually nothing else for us to read -- no other work of fiction or correspondence. Her poems, however, fill this void. They are varied, lyrical, intriguing, and innovative, yet they are not well known. This book brings an unjustifiably marginalised poet out of the shadows and presents her poetry in a way that enables readers, even those who shy away from poetry, to appreciate her work. Unlike any other collection of Bronte's poetry, this volume arranges selected poems by thematic topic: nature, mutability, love, death, captivity and freedom, hope and despair, imagination, and spirituality. It provides literary and biographical information on each topic and interpretations, explanations, and insights into each poem. Fans of Wuthering Heights wanting more from Emily Bronte will discover that her poetry is as memorable and powerful as her novel. This book is for all who appreciate poetry, especially from the golden age of 19th century verse. The exploration of Emily Bronte's poetic world allows a greater and different understanding of Wuthering Heights and insights into Bronte's fascinating mind.

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